The approaching August 29th release of pop singer Sabrina Carpenter’s seventh studio album, Man’s Best Friend,has created an avalanche of discourse and attention since the record’s title and cover were first announced. The LP’s three album art styles have led to confusion about the record’s theme, and even Man’s Best Friend debut single “Manchild” hasn’t been free of critique.
Much of the public controversy behind Man’s Best Friend has been related to the album’s debut cover, which features Carpenter in what could be interpreted as a suggestive pose, kneeling on all fours in front of a faceless man with her hair in his hand. Add in the title Man’s Best Friend, and accusations have flown of cheap, sensationalist misogyny.
Sabrina Carpenter’s Dog Aesthetic Points More Towards Men Than Women
However, reading between the lines of what’s been released from Man’s Best Friend so far, the directed message hasn’t been one meant to demean women as dogs (as has been claimed). While the overall intention still includes its fair share of spice (a not unheard-of step in female-empowered pop music), the tracklist rollout and album trailer paint a different portrait.
Carpenter has certainly been known for her sense of humor when it comes to her musical creativity, and Man’s Best Friend takes up this mold once again, as it seems to instead shade men as being in the subservient, canine role. Track titles like “Manchild,” “Nobody’s Son,” “House Tour,” and “Goodbye” also paint Carpenter in a superior position of strength.
The brief album trailer shown at the end of Carpenter’s Lollapalooza set seems to indicate much the same type of mood. While the unidentified album cover man (possibly) is again present in several video clips (perhaps as part of a future music video), he’s blindfolded and is never once presented as being in a position of control over Carpenter.
Carpenter’s Controversial Cover Is Merely A Play On Her Entire Concept
Whether this album cover design choice is intended to be a sleight-of-hand misdirection to the viewer, or is just being misinterpreted by a public quickly jumping to an emotional reaction instead of logic (or both), Man’s Best Friend always has Carpenter’s hand on the leash. She’s not intended to be the one wearing the collar in this scenario.
Perhaps this early, over-eager criticism is again due to a society that’s quick to pile on women for expressing themselves in a way they either don’t like or find to be uncomfortable. Regardless, the overreaction to Man’s Best Friend has the wrong take on the matter, and, as a result, misses the album’s concept by a wide margin.
